DETOUR

Companions in nightmare: Ann Savage and Tom Neal

DETOUR (1945). Director: Edgar G. Ulmer.

Al Roberts (Tom Neal) is a talented pianist with Carnegie Hall aspirations who instead tickles the ivories in a cheap nightclub. His girlfriend, Sue (Claudia Drake), sings at the same club and is sick of her life and the way they are both going nowhere. Sue decides to postpone her marriage to Al and move to California, and a heartsick Al makes up his mind to follow her there by hitchhiking. Unfortunately, Al's life takes a sharp turn for the worse when he encounters two people on the highway: Charles Haskell Jr. (Edmund MacDonald of The Mysterious Mr. M), who offers him a lift but carries a lot of secrets; and Vera (Ann Savage), another hitchhiker who proves more than a match for any man. When Al first meets Vera he thinks she has "a beauty that's almost homely because it's so real." Vera wants to get the basically decent Al involved in a crooked scheme and blackmails him, and he can't see any way out ... Detour is a fascinating bit of low-budget film noir that moves swiftly and features two terrific lead performances (as well as an adept if small supporting cast). Neal is intense and anguished, a poor slob who only wants his gal and a decent life and doesn't know how to extricate himself from a difficult situation. Savage is so hard-boiled that she borders on caricature, but her performance is skillful and vicious, full of nuance, and works every step of the way, whether she's literally spitting out an insult at Al or purring at him in a way she imagines is sexy. Leo Ordody's score makes good use of the songs "I'm Always Chasing Rainbows" (from Chopin) -- which is especially appropriate -- and "I Can't Believe That You're In Love With Me." Detour is well-directed by Ulmer, who makes the most of a limited PRC budget, The film is almost constantly narrated by the hero, but somehow it is not that intrusive. Martin Goldsmith's screenplay is full of good dialogue and interesting observations. I doubt if either Neal [Bruce Gentry] or Savage [Apology for Murder] ever had another part as good.

Verdict: PRC's finest hour? ***.

THE MYSTERIOUS MR. M

THE MYSTERIOUS MR. M. 13 chapter Universal serial/1946). Directed by Lewis D. Collins and Vernon Keays. 

Anthony Waldron (Edmund MacDonald of Great Guns), who is presumed dead by the police, is holed up in his wealthy grandmother's estate with an evil brother and sister team who are helping him with his plans. Calling himself "the mysterious Mr. M," Waldron uses a drug called hypnotreme to keep the old lady (Virginia Brissac of The Scarlet Clue) compliant and get many others to do his bidding even while he piles up corpses in the river from his experiments. He is particularly interested in getting the plans for a device that will enable submarines to be as large as ocean liners and do more than forty knots an hour. But Waldron and his cronies get a surprise when somebody else calling himself "Mr. M" sends them recordings giving them orders and threatening to tell the cops Waldron is alive if they don't comply with his wishes. As the gang wonders who this new "Mr. M" could be, agent Grant Farrell (Dennis Moore) is on the case, especially after his brother, Jim (William Brooks/Ching), is hypnotized and killed; Farrell is aided by Detective-Lt. Kirby Walsh (Richard Martin) and insurance investigator Shirley Clinton (Pamela Blake of Ghost of Zorro). 

The Mysterious Mr. M is an entertaining and suspenseful serial with Moore in good form as the hero, Waldron suitably gruff, and Jane Randolph [Abbott and Costello Meet Frankenstein] and Danny Morton [The Royal Mounted Rides Again] effective as the nasty brother and sister team. Byron Foulger [The Master Key] scores as Grandmother Waldron's lawyer, who nearly becomes a victim of Mr. M more than once. Memorable sequences include the fight between the Farrell brothers as electricity discharges all around them; a bit with a cigarette lighter that has a dart inside it; a cliffhanger concerning falling high-tension wires; and another in which Grant's car goes hurtling down a high shaft in a parking garage. The best cliffhanger -- one of the best ever, in fact -- has Waldron and Grant struggling on one parachute after they fall out of a plane even as a train races towards them on the ground below, with Grant eventually falling off the chute right into the path of the express!The serial also keeps you guessing as to the true identity of "Mr. M."

Verdict: Universal's very last serial is one of its best. ***.

THE LADY CONFESSES

Hugh Beaumont

THE LADY CONFESSES (1945). Director: Sam Newfield.

"I don't know what there is about the guy but he just sends me."

Vicki McGuire (Mary Beth Hughes) is looking forward to her wedding to Larry Craig (Hugh Beaumont), when who should show up but Larry's wife, Norma (Barbara Slater), who's been missing for seven years. While this causes a complication, it gets even worse for the couple when Norma is murdered and they become the chief suspects. But there's also nightclub owner Lucky Brandon (Edmund MacDonald), who may have been involved with Norma, and singer Lucille (Claudia Drake), who's carrying a torch for Lucky and may have been jealous of the dead woman. And what about Marge (Carol Andrews), the lady who photographs the customers, or Steve (Dewy Robinson), the bartender? Vicki decides to go undercover at the club to discover who may be keeping secrets, while Captain Brown (Emmett Vogan) conducts an official investigation. Beaumont was best-known for playing the mild-mannered father on Leave It to Beaver, but he could play different kinds of roles when required, such as detective Mike Shayne in several movies also directed by Newfield. In this he first appears doing a convincing drunk act, and has a very different personality from Ward Cleaver. This is a not bad "B" mystery with a good cast and an ending that you may not see coming. Newfield also directed The Lost Continent among many other "B's." Hughes, who also appeared in The Cowboy and the Blonde, was not a bad actress.

Verdict: Ward Cleaver on a bender. **1/2.